TOPIC: “Critically assess the uses and limitations of diversity

initiatives in attending to inequalities with reference to Gaming

industry”

INTRODUCTION:
This essay is about diversity initiatives in gaming industry. The uses and limitations to diversity

initiative regarding inequalities in gaming industry are discussed in detail. In the game industry,

diversity is becoming more important. It leads to a more interesting and enjoyable gaming

experience for everyone and it promotes equality and fair opportunities for everyone. Racism,

equity, colonization, diversity and inclusion are an important issue that aroused in gaming

industry. This essay will explain how these problems were identified and then preventive

measures were taken to solve them.

Diversity initiatives in the gaming industry are crucial for addressing inequalities, as they

promote inclusivity and representation. These initiatives can take various forms, such as hiring
practices that prioritize diversity, creating games that feature diverse characters, and fostering

an inclusive culture within gaming communities (Shaw, 2012). Nevertheless, these endeavors

are not without constraints. For example, they may not adequately tackle systemic problems

that lead to inequality, such as racism and sexism within the sector and society at large (Gray,

2018). In addition, diversity initiatives may occasionally exhibit tokenism, prioritizing superficial

representation rather than genuine inclusion (Kafai et al., 2016).

Traditionally, video game firms have had challenges in achieving diversity. Games often mirror

the backgrounds and interests of their creators. Therefore, it should come as no surprise that a

lack of diversity on game teams has led to a lack of diversity in game narratives, protagonists,

characters, and storytelling. (Bay, 2023). An ongoing concern in the gaming industry for the past

two decades has been the persistent absence of diversity. Recent occurrences have

underscored the persistent harassment and negative stereotypes faced by women and non-

dominant groups, confirming that this issue remains prevalent. (Kafai et al., 2016).

The gaming industry's lack of concern over the racial composition of its audience is apparent in

the statistics it publishes. Annually, the Entertainment Software Association releases 'Essential

Facts' pertaining to its audience. Since 2004, the reports have solely included age and gender

as the demographic data pertaining to game sales. The omission of sexuality in research

conducted by the game business is not unexpected, as it is also absent from the US census.

The industry's disregard for race suggests that it does not consider it to be significant in relation

to its audience. The Kaiser Family Foundation (2002, 2010) is the sole source of published data

on the correlation between race and video game engagement, specifically limited to children. In

a study conducted in 2002 (p. 1), it was discovered that African-American and Hispanic children

engage in a greater amount of video game playing compared to White children. Additionally,

children from low- and middle-income backgrounds tend to play video games more frequently
than those from higher-income homes. The discrepancies mentioned in pages 5 and 25

continue to exist as of 2010. Presumably, the industry perceives no need to cater to these

markets, given that they are already purchasing the goods. The building of the gamer audience

appears to be unaffected by race, which can be seen as a type of 'symbolic annihilation' that

extends beyond the content of the games themselves, as discussed by Gerbner and Gross

(1976) and Tuchman (1978).

Emerging study in the realm of online racism and its impact on young individuals demonstrates

that racism and extremism inside online gaming platforms are causing significant negative

consequences on the mental and emotional well-being of those who are directly or indirectly

subjected to such hateful behavior. While racism has long been a persistent issue on the

internet, it is becoming increasingly problematic due to the expanding number of online

platforms, which provide more opportunities for individuals to interact. Unregulated conduct on

these platforms can result in tangible repercussions: In May 2022, the individual responsible for

the tragic deaths of 10 Black individuals in a store in Buffalo, New York, had publicly expressed

on the Discord platform that his radicalization was influenced by a game on the Roblox gaming

platform. The official assessment on the March 2019 incident in Christchurch, New Zealand,

revealed that the gunman followed a similar trajectory in online multiplayer games, where he

could freely articulate racist and far-right ideologies without encountering resistance.( Ramirez,

2023)

Games and gaming culture not only mirror deep-rooted inequalities and the advantages enjoyed

by males and white individuals, but also play a significant role in perpetuating dominant power

structures. (Gray, 2018). Diversification in the gaming business is more than just the inclusion of

varied characters in games; it also entails the incorporation of diverse perspectives in game

production. This can result in more refined and genuine representations of many cultures and

experiences (Kafai et al., 2016). The video game industry relies on individuals that possess
exceptional skills, aptitude, and qualifications to develop games. Usually, 80% of the labour

force have a degree or higher qualification, however, the percentage of women pursuing

computer science or games programming courses is rather small. The games industry has a

limited pool of potential female employees. (Harvey, 2019) There is a requirement for increased

representation of women in some fields that are predominantly occupied by men, particularly in

the areas of Science, Engineering, and Technology (SET) and Information and Communication

Technology (ICT). Computer games have the potential to increase the presence of women in

both the computer games industry and other computer-related industries (Prescott, 2014).

The dearth of diversity within the gaming business has a detrimental effect on creativity,

innovation, and financial performance. Teams consisting predominantly of a single ethnicity or

gender may develop products that are constrained by their own viewpoints, resulting in a failure

to cater to the requirements of various audiences. Owing to their inherently partial composition,

whether deliberate or inadvertent, unjust generalizations remain and are sustained, ranging

from sexualized female characters in video games to assumptions that women are not engaged

in playing. The absence of gender diversity in the game industry fosters unjust preconceptions

and hampers the development of new ideas and creativity. Highly skilled individuals from

marginalized demographics experience demoralization and therefore depart from the field.

Furthermore, it is imperative to uphold a moral duty to demonstrate principles of equality,

inclusion, and constructive social ideals to society. (Diversity in Tech, 2023). Of the 100 best-

selling and popular games published between 2017 and 2021, males make up approximately

80% of the primary cast, while white people make up roughly 55%.

Colonization is another issue in the gaming industry, with many games featuring narratives that

glorify colonialism and erase the experiences of indigenous peoples (Mukherjee, 2017). This

can be addressed through diversity initiatives that prioritize the inclusion of indigenous voices

and perspectives. The presence of various narratives, characters, and gameplay mechanisms is
a rarity in the realm of gaming. However, what is the exact number of those that are created

exclusively by teams, studios, and enterprises consisting entirely of white individuals?

Frequently, we see games with a main character of non-white ethnicity, although the creators

have no connection or understanding of that particular culture or race. Western media have

consistently propagated prejudices about indigenous peoples and their cultures during the

process of colonialism. Regrettably, it seems that some cultural prejudices present in traditional

media have been incorporated into videogames. The representation of Indigenous peoples,

nations, and cultures in video games has had a tumultuous past. Conventional developers often

employ harmful stereotypes that reduce Indigenous individuals to oversimplified and

romanticized portrayals, as opposed to deliberately crafted indigenous characters who can

accurately reflect the wisdom and cultural legacy of their communities. In the video game

Shadow of the Tomb Raider, the story revolves around the main character, Lara Croft, who is

an archaeologist. Her mission is to find a secret organization known as Trinity in the Amazon

Rainforest. Under the pretense of advancing scientific knowledge and expanding civilization,

European imperialists have a notorious track record of colonizing and pillaging precious

antiquities from nations that they have captured. Throughout the course of the game, Lara

imitates their behaviors by collecting relics from Paititi, the capital of the Inca civilization. When

Lara takes a ceremonial dagger and immediately feels a twinge of guilt because this action

incites the inevitable destruction of Cozumel, the game makes an effort to investigate its own

problematic background for the first time. Despite this, she does not experience any feelings of

regret for either keeping the stolen antiquities that she acquires during the course of her mission

or bringing them back to her estate at the end of the aforementioned game. It is possible that

the discrepancies that exist between the gameplay and the storyline are to blame for this

disconnect. With this edition, the developers wanted to address the colonial overtones that have

plagued the games that came before it in the franchise. By imparting agency to the indigenous
characters, such as Unuratu, the revered queen of Paititi, via acts of exceptional heroism, they

were able to accomplish this goal. (Webb, 2020)

Regardless of the extent of study conducted, it is inherently impossible to thoroughly scrutinize

one's own prejudices and attain a comprehensive understanding of cultures that differ from

one's own. The research you will utilize originates from the perspective of the colonizer,

rendering it inherently flawed and biased due to its inaccuracies and prejudices. When research

does not sufficiently expand on specific cultural practices, history, and the individuals involved,

one will unavoidably resort to stereotypes to compensate for these gaps in information or depict

the culture as lacking in complexity.

If you view people of color solely as an aesthetic or exotic backdrop, or as mere objects for

shallow amusement, and consequently neglect to involve them from the outset, you are

disregarding and disrespecting our real-life encounters. This disregard can result in superficial

or even offensive outcomes. When the entire game production landscape and its surrounding

environment are predominantly white, the question arises as to what level of authenticity can be

achieved when including different races and cultures into game titles.

The game business is continuously working towards the objective of embracing diversity and

inclusion. Nevertheless, it is evident that the sector is falling behind in this aspect, and there is a

pressing need to promptly enact significant reforms (Games for Change, 2022). However, the

current situation is undergoing rapid and significant transformation. The game industry is

actively striving to enhance accessibility, diversity, and inclusivity in games and game

development.

The concepts of diversity and inclusion are gaining significance in the field of game design.

These principles not only provide equity and equal chances for all participants, but they also

result in a more captivating and pleasurable gaming experience for all individuals. It guarantees
inclusivity for all participants, regardless of their age, gender, color, sexuality, or any other

defining characteristic.

Diversity and inclusion are crucial in game design as they contribute to the development of a

more inclusive and hospitable gaming community. The portrayal of underrepresented

populations in media can have a profound impact, harnessing significant influence. Gaming has

the valuable advantage of providing an opportunity to immerse oneself in an alternate reality.

For numerous individuals, attaining that sense of escapism becomes more challenging when

none of the characters in the games they engage with bear any resemblance to them.

Incorporating LGBTQ characters, characters from diverse ethnic origins, characters with

impairments, and various other forms of representation enables individuals to identify with the

characters in the games they engage with. Such depiction not only affirms the existence and

worth of individuals, but also grants them the opportunity to fully appreciate the immersive

experience in games, which is often overlooked. Game designers can promote a sense of

belonging and inclusivity among players by ensuring equal opportunities for participation and

success in the game. Consequently, this fosters a conducive gaming atmosphere characterized

by positivity and encouragement, enabling gamers to freely express themselves and actively

interact with one another. Engaging in proactive measures to promote diversity and

representation enables the gaming industry to access broader and more diverse talent pools

during the recruitment process. Additionally, it facilitates the development of highly inventive and

relatable games that attract a wide range of people. There exists a distinct and compelling

rationale for diversity, since organizations that embrace inclusivity demonstrate superior

financial performance.

Breaking free from the grip that white supremacy has over game creation and the gaming

industry as a whole is what is meant by the term "decolonizing" in the context of the gaming

industry. To begin the process of decolonizing gaming, the first step is to conduct an in-depth
investigation of the deliberate choices that were taken during the development of the game as

well as the persons that were engaged in the process. It is of the utmost importance to examine

not just the storyline, but also the characters and the gameplay mechanics, as well as the

people who are accountable for conceiving and putting these creative decisions into action, as

well as the people who are in charge of supervising the recruitment of people who are involved

in these decisions. Participation in videogame development and the creation of spaces for

indigenous cultural expression are two ways in which decolonization empowers indigenous

people. The development process presents an opportunity for indigenous peoples to have their

voices heard. Decolonization can be considered as an intrinsic aspect of the studio structure

and the larger collaborative process of game production. This is because it involves the

incorporation of indigenous narratives and game mechanics that have the potential to appeal to

a wider audience. There have been far too many instances in which video game developers

have ignored the power, status, and authority of indigenous peoples when it comes to telling the

stories of their lives. If non-indigenous developers want their games to include authentic

indigenous representation, they need to collaborate with indigenous creators to fight against the

historical appropriation of indigenous peoples and the exclusion of indigenous peoples from

their own tales. Development teams that incorporate indigenous peoples are the only ones that

can make genuine progress towards portrayals of Native Americans, their many cultures, and

their civilizations that are more inclusive and accurate. (Webb, 2020).

Historically, the game industry has frequently been linked to a culture characterized by toxicity,

exemplified by prominent cases of harassment, inequity, and discrimination targeting specific

demographics. However, in light of some recent controversies, there is a noticeable shift

towards constructing organizations and communities that are more inclusive and hospitable,

maybe influenced by these issues. Global gaming organizations are actively striving to combat
and mitigate online and workplace harassment, as well as foster diversity and inclusivity within

the industry as a whole.

Activities aimed at preventing and combating harassment: There have been a number of

game companies that have launched programs with the intention of reducing harassment in the

workplace and in online forums. These operations comprise the development of unique

reporting systems, community regulations, and other actions targeted at training personnel on

ideal methods to guarantee the safety and wellbeing of both workers and players.

Collaborating with organizations that advocate for change: Game companies are

contributing assistance to diversity-oriented advocacy groups like BAME in Games, Black Girl

Gamers, and Fearless Futures, and they are also soliciting advice from these groups. It is

possible to improve the organizational diversity of gaming firms by engaging in talks with

advocacy groups. This can also stimulate the development of games and storylines that are

diverse and inclusive.

A design for a game that encourages inclusive games: A sizeable number of game

developers are making concerted efforts to develop games that are welcoming and

accommodating to players of diverse backgrounds and characteristics. This is something that

may be accomplished by developing a wide range of characters and stories, as well as by

including components that are accessible to players with disabilities in order to make games

more inclusive for those who have disabilities.

Strategies for hiring that give diversity and inclusiveness a higher priority: There have

been a number of game companies that have implemented diversity and inclusion (D&I, or DEI)

training and programs in order to cultivate an environment that is more welcoming and inclusive.

Strategies such as giving diversity training to staff, establishing diversity and inclusion
committees, and implementing better hiring and promotion procedures that reduce bias and

cultivate diversity are generally included in diversity, equity, and inclusion (DEI) programs.

Increased accessibility: A number of different kinds of infirmities make it difficult for people to

play video games for a considerable amount of time. The majority of the time, it is completely

impossible. The reason for this is because accessibility elements that might have assisted

players with impairments were not normally part of video games. Accessibility, on the other

hand, has recently been a primary priority for both publishers and developers alike.

A number of recent game projects have been significant in increasing diversity and inclusion in

the industry. Some recent highlights are as follows:

 Naughty Dog's The Last of Us Part II: Many different types of people, including LGBTQ+

and disabled characters, are featured in this game. In addition, it delves deeply into

complicated topics like prejudice, abuse, and trauma.

 Characters of color and a transgender person are among the many different voices

heard in ZA/UM's Disco Elysium. Additionally, it deals with weighty topics like trauma,

racism, and classism.

 The multi-racial protagonist and several diverse characters and plot points are featured

in Spider-Man: Miles Morales, developed and published by Insomniac Games and

Nixxes Software. Gentrification and racial strife are also addressed in it.

 A wide range of characters, including LGBTQ+ and people of color, populate Supergiant

Games' Hades. Additionally, it has characters with a wide variety of body shapes and

levels of athletic ability.

 A non-binary figure is featured in Nintendo's The Legend of Zelda: Breath of the Wild,

which takes players to a world where different races and cultures coexist.
  In 2016, two highly praised action-adventure games, Mafia III and Watchdogs 2,

prominently featured black male protagonists. Additionally, Mirror's Edge 2, Uncharted 4,

and the independent game Virginia showcased women of colour as their main

characters. (Ramanan, 2017)

When taken as a whole, diversity initiatives in the game industry have the potential to contribute

to the reduction of inequality; however, this is only the case if they address systemic issues like

as racism, underrepresentation, and colonization and are not only lip service.

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